JSngry

Buford Billy Champion J.A. Gregoire Hot Rod Kanehl

Whitney Houston, Archie Shepp, Bill Laswell. None of the individuals involved here are particularly out of character, but combined...did you ever hear this on the radio? Any radio? Jazz? R&B? Pop (oh HELL no)?

I cannot pull myself away from this song and/or this vocal.

Sorry dude, this bus ride is like an acid trip, once on, no early exit possible.

What bus is he riding these days?

Willie And Laura Mae Jones Me and Mrs. Jones Miss Jones

No, have not heard that,

Joey Jay Joey Dee & the Starliters Emil J. Brach

Kevin Coyne Buffalo Bill Residents of Chekka

I wish I had evolved financially to the point of being able to afford to dress like that.

I sound more like a black lung...

Old guys looking sharp. I'm a fan!

Watched the first 3 episodes, was teetering on intirigued, but then a stretch of real life intruded and I got distracted and never got back. How's it playing out?

Here's one that is totally out of character in terms of the music, but totally in character as far as...Bud Shank. Comparisons to Miles in that they both essentially always played like themselves no matter the context are as potentially improper as they are objectively correct, imo. Chet's on that one too.

Yeah. To me, it's got that same "not right but totally RIGHT" vibe to it that Bud always had. You might well enjoy it, becuase Hewitt was dealing from a pretty deep "getting it out" place and if he couldn't get it exact, by god he was gonna get it right. Everything fits, ya' know? Now, having said that, I just can't enjoy The Return Of Bud Powell or much of Ups N Downs..they feel like a man still throwing punches after he's been knocked out...I mean, yes, that's all noble, and god bless him for that, but...I'm glad to have heard those, just need to remember them more than hear them. Now, having said that...the "Round Midnight" on Ups N Downs is seriously profound, not sad, but transcendent. But for me, it stands out as a sharp example of what the other things from those sessions(?) lack, namely, some semblance of life, no matter how tangential it might have been by then.

I only have Plastic Dreams on a scratchy LP...probably should remedy that! The Legendary Profile has some of those more "funky" feels to it as well. Of course, with Milt Jackson, how does it not get funky, right? But Heath and Kay (one of the OG Atlantic R&B drummers, let us never forget!), when Lewis decided to go there, they were more than ready to do it. It bears repeating - Percy Heath was the original Ron Carter! And Rhodes! A Tim Hardin cover! This thing ends up like Ramsey Lewis on a double dose of Whoa, Didn't See That One Coming. John Lewis...easy to overlook generally, dangerous to ignore altogether.

Have you checked out the first Frank Hewitt album?

Those Mariachi Brass records really do suck. There were, what, four of them? It's not like, well, the first one was clever, or something like that. No, they started at Suck and never budged an inch.

Oh, I know, and totally agree. A lot of this "out of character" thing is actually the result of decisions made at the record-making level. People tend to make one or two (or for somebody like Lou Donaldson types of records, then continue to do so with little variations here and there over the course of their career. But they essentially play the same way every time, no matter where they show up. So when Roy Eldridge & Eric dolphy play together, well, neither play any way other than how they always play, it's just that you don't expect to hear them together like that. But hell, they could have made a buttloadfull of records together, the only thing would have been repertoire. For, say, Lou Donaldson or Stanley Turrentine, they made a lot of different types of records, but they carried their unique character into pretty much every one of them. For them, an "out of character" record for them would be one in which they pretty much "turned their back on the audience", and I don't know that such records were ever made. The MJQ record that Scott referenced in the OP, for me, that's not so much "out" of character as it is a deep exploration of an generally overlooked part of the group's character...most of that shit was always in there, they just really, really brought it out and up on that one, and as a result, it's possible to never hear the MJQ in quite the same way again after hearing Space. Or, it's equally possible to hear it as a window only opened once...really no wrong answer to that one.

The Magenta ones were kinda off, supposedly AB was intimidated by being in the presence of Hank Jones, but the earlier In The Tradition sides on Steeplechase are perfectly fine, totally Braxton, totally like what you'd think Braxton playing changes would sound like, fun stuff. That's a great record, imo. I guess it wasn't - and maybe still isn't - universally considered so, but there is so much music on that record...

Pretty much everything exists in or around Dallas, trust me. It's just a question of how hard it is to find and how hard you want to work to get there after you find it. Sometimes it's down to one or two cats (or one dog and two cats) in their mom's den or something, but they're there. But more seriously..the Blue Candlelight thing seems to be yet another case of somebody coming to town and making something happening that wasn't happening before: https://bayakakouberi.musicteachershelper.com/bio This is a town where we basically wait for shit to come to us, and then when it doesn't, we wonder why. And then, when people do try to get something going, they're up against some pretty daunting home-grown obstacles, some real-world, some just silly. So anybody like this lady who has a plan and the sense to get it going and the hustle to keep it going and not making it all about just herself, hey, more power to her. 15 years!

But Pee Wee sounded exactly like Pee Wee...and Monk sounded exactly like Monk...those two guys, could they ever be anything except in character?